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Poly Piece
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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Oelflecke auf dem Wasser [woodwind quintet]
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Woodwind Ensemble,Woodwind Quintet - Level 3 - Digital Download SKU: A0.596552 Comp…
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Woodwind Ensemble,Woodwind Quintet - Level 3 - Digital Download SKU: A0.596552 Composed by Juan MarÃa Solare. Concert,Contemporary,Instructional,World. 20 pages. Juan Maria Solare #4598385. Published by Juan Maria Solare (A0.596552). Ölflecke auf dem Wasser ( Oil spots on the water )This is my second Wind Quintet. The first one (Strange preludes and double canon) was written in 1992, this one in 2003 and there are numerous sketches (even complete movements) for a third one.The title Oil spots on the water doesn't have much with ecological issues, but rather with those abstract, colourful, poly-semantic shapes of small oil spots on asphalt, especially when it rains.The Wind Quintet Ölflecke auf dem Wasser was selected in 2003 in a shortlist of 31 among 270 compositions for the project Neue Kammermusik für Musikschulen (New chamber music for music schools) by the Verband deutscher Musikschulen (Association of German Schools of Music) in Bonn, Germany.In October 2004 this piece, together with two other pieces by the same composer, received first prize at the Bremer Komponistenwettweberb organised by the Council of the Music (Landsmusikrat) in Bremen, Germany.Ölflecke auf dem Wasser was first performed on 10th July 2004 at the Castle Sonderhausen in Germany by the Wind Quintet of the Music School Carl Schroeder of Sonderhausen: Eva-Maria Albrecht (flute), Malte Schneegaß (oboe), Antje Eckstein (clarinet) Julia Wallis (bassoon), Manuela Hirsch (horn), Stephan Uhl (conductor); in the cycle Neue Musik in alten Residenzen (New Music in old residencies) of the Council of the Music Thüringen.After the premiere, Stephan Uhl published an article about the piece: Juan MarÃa Solares 'Ölflecke auf dem Wasser' (2003) für Bläserquintett. Anregungen zur Praxisarbeit zwischen Interpretation und Improvisation (Oil spots on the water (2003) by Juan MarÃa Solare: Ideas about rehearsal practice between performance and improvisation). This article was published in November 2004 in the book Ensembleleitung Neue Kammermusik (Dokumentation und Arbeitshilfe des Modellprojekts), edited by the VdM (Verband deutscher Musikschulen - Association of German Music Schools), Bonn, ISBN 3-925574-59-X, pages 82-86.In March 2005 Oil spots on the water was chosen in the shortlist at the Piece of the Year Competition organised by Alan Taylor and the London Chamber Group. In this context it was performed on 10th July 2005 at a venue unknown to the composer.
$4.00
3.61 €
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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Juan MarÃa Solare
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Oelflecke auf dem Wasser [woodwind quintet]
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Juan Maria Solare
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SheetMusicPlus
Bach Fuga BWV 539 For Woodwind Quintet
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.889416 Comp…
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Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.889416 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standards. 31 pages. Luis Anjos Teixeira #3485727. Published by Luis Anjos Teixeira (A0.889416). 2018 Chamber Music Contest EntryAs a violin player this was always one of my beloved pieces and it has accompanied all my Life. The G minor Fuga is the most compact of the three fugues in the volume for violin solo (and note that in this versions they are not in fact fugues in the proper sense of the word, but rather a kind of fugue/Baroque-concerto hybrid form). It was also transcribed for lute by Bach at some later time (BWV 1000). My arrangement is based on a version of this piece for the organ made by Bach himself - BWV 539. I follow very intimately the organ version, not adding or letting out any of the original notes. As an arrangement I transposed it to H-Minor and some of the notes where made through the interpretation symbols more or less shorter in order to accentuate the polyphonic, rhythmic and natural dynamic of the piece. I also added some legatos. Crescendos, or fortes and similar indications are left out like in the original, waiting for your own interpretation. In the musical consciousness of Bach the polyphony and dialog between the voices were a projection of an ideal world for the Human Society and this should be in the first line of focus and in the mind of all the members in the group. The power of this piece comes from within its structure and relays in its polyphonic dimension. Allow yourself to focus on the Art of enhancing the beauty of this dialog, the bless of communicating with each other. Bach is Love - Love each another I really advise all performers to have a very humble and sensitive approach in the interpretation of this piece towards loudness because you will have to be listening to each other very carefully while performing. Linear time, sound and silence are the basic of dynamic expression. Dynamic will than happen naturally and without much effort when bringing the „Art of playing the silence and the Art of the „duration of the notes to a state of consciousness within the whole piece itself. Often in the old music notation the duration of the notes is longer written in the score then it should be played. Understandable because It takes a lot more time for a composer to write in detail the sound and the silence than to write only the raw length of the notes! Back in those times the performing artists were trained very well to read their raw parts and became very skilled in making their own thing out of the scores so the composers did not have to worry with so much detail like nowadays. In some scores we even find words like:-„please play this note simply as written and without embellishments! On the original score of the Fuga a sixth voice joins the group between bars sixty and sixty one and this voice can be heard very well in the sound file. This „Ghost voice is noted on the clarinet part as an extended possibility. To play it with just one clarinet is absolutely possible as well as arbitrary. Do at will some experiments and let than the group decide. In case of doubt play simply the bottom voice or let yourself get inspired with the sound file. One of my suggestions would be also to play the bottom line as long as the other one is silent, than jump to the upper voice as it comes in and go back again to your usual voice while the other voice „takes a break. This work brought me a new insight into the consciousness and the universal nature of Bach`s music. It requires high skilled and experienced artists to execute. The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. Thank you very much f.
$25.00
22.55 €
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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Johann Sebastian Bach
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Bach Fuga BWV 539 For Woodwind Quintet
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Luis Anjos Teixeira
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SheetMusicPlus
3 and 2 March for Wind Quintet
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1443973 Composed by James Smith. Contemporary,Contest,Festival,March. 14 pages. Ensemble Llama Music #1023933. Published by Ensemble Llama Music (A0.1443973). 3 and 2 March (or Three and Two March) is an original march, written to experiment with the traditional march in a modern way: adding 3:2 polyrhythms, subdivision changes in the melody, chromaticism and non-functional harmony. A piece that is sure to challenge your quintet, yet be fun to perform, and will leave audiences wondering what will happen next. 3'View my catalog here with Ensemble Llama Music!
$14.99
13.52 €
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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James Smith
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3 and 2 March for Wind Quintet
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Ensemble Llama Music
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SheetMusicPlus
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